‘The biggest out the city after Kenny, that’s a fact now’. Tyler, The Creator may simply be talking about his local California competition on “Rah Tah Tah”, but at this point, I think it’s safe to say this may just be true for his position in the rap landscape. Seven albums, and one iconic mixtape, deep into his career, what other rappers from this era (besides the one better than him) have a discography that matches Tyler’s? It’s definitely not J.Cole or Drake.
Even before Kendrick Lamar declared cultural victory, the idea of there still being a ‘Big 3’ has felt for years like if you pretended the top three picks in the NBA draft were still the three best players ten years after the fact. Tyler may not have been the top pick but his output clears those two (if we’re being real as do many others. J.Cole quality is not a high bar to clear.) Other late picks have turned out great careers but for one reason or another haven’t elevated to the status Tyler has, and not only has he maintained that position but he’s steadily improving, especially on the writing end of CHROMAKOPIA.
Struggles with dads and the idea of fatherhood are nothing new for a Tyler album to discuss, but CHROMAKOPIA makes it more real and personal than ever before. “Hey Jane” is a level of lyrical skill that I honestly wasn’t sure Tyler had. It’s very reminiscent of Kendrick’s “We Cry Together”, except I feel Tyler wanted to remove some of the Eminem-esque moments of forced discomfort, which was very successful. The switched perspective of both parties in the relationship following a pregnancy reveal is some of Tyler’s best writing, and it perfectly conveys both parties’ discomfort in the situation. The end result of the situation is revealed on the album’s closer “I Hope You Find Your Way Home”. They ended up not having a baby, and Tyler continues to elaborate on his discomfort with being a potential father.
“Like Him” dials up the introspective elements, and is the closest CHROMAKOPIA comes to following the the messy, therapeutic introspection of Mr. Morale. Tyler’s issues with his father are not new, and have been well documented in his music, most notably on Wolf’s “Answer”, but it had been a bit since Tyler really delved into it. Using prior conversations with his mother to frame his insecurities about their similarities, Tyler still struggles with wanting to be different and the things the two have in common he can’t change. It’s less angry than past moments where Tyler talked about his father, but the outro of Tyler’s mother discussing her feelings of guilt for the poor relationship between Tyler and his father makes you feel conflicted and sympathetic for everyone involved. It’s clear he still hasn’t worked through it yet.
‘You gave me love and affection
Attention (Go), protection
How could I ever miss somethin’ (Go)
That I’d never had?
I would nevеr judge ya
‘Cause evеrything worked out without him (Like what?)
Like him (Like what?)
Like him (Huh?)’
“Tomorrow” is another very interesting moment for Tyler to work through a very common disagreement of your mother wanting grandkids (who among us?), but you not being ready. Beyond just feeling pressure from his mom, being in his mid-30s means that many of his close friends and family have already had their own kids and he can feel the weight mounting as all he can offer back is another picture of a car or some clothes.
The incredible moments of growth shown as Tyler explores the idea of fatherhood and his family are greatly enhanced by the depth and introspection Tyler shows throughout CHROMAKOPIA. “Noid”, the album’s only full single, is excellent at some of the isolation Tyler has been feeling and how the deaths and attacks on other rappers have him fearful for his own safety, and especially how the constant cameras don’t help. “Take Your Mask Off” has been my favorite track on the album so far. I love the hook from Tyler and Daniel Caesar; the track’s harsh self-critique at the end is incredibly well done. The tough self-talk is perfected again on “Darling, I”, a great track of Tyler discussing his unwillingness to be tied down and his struggle with relationships.
‘Life is short, but forever is so goddamn long
I like alone time, I’m on my own time
I love this girl, though, I hit the gold mine
I’m thinkin’ new crib, I’m thinkin’ two kids
Until I get infatuated with a new bitch
But when that grey hair finally come (Uh-huh)
At least I felt somethin’ if I ain’t find the one (Yuh)
Nobody could fulfill me like this music shit does
So I’ll be lonely with these Grammys when it’s all said and done, c’mon’
Tyler’s production skills haven’t just maintained on CHROMAKOPIA, he’s still finding new and creative ways to explore his sound. The intro “St. Chroma” sets an incredible pace, the stomping, the chanting, and the whispered vocals make the beginning of the track sound like something you’d hear in a horror movie, and the more angelic back half sounds just as strong with the introduction of some gospel elements. “Judge Judy” is one of Tyler’s horniest tracks, and the instrumentation starts off with some simple strings, but the combined support of Thundercat, Steve Lacy, and Childish Gambino start to complicate things. Tyler reworks the nursery rhyme “Wheels on the Bus” for “I Killed You” and it turns into maybe the hardest instrumentals on the album. Also got some more Gambino help here, his vocals are real reminiscent of his Because the Internet days.
Tyler brings a delightful mix of new faces and a bunch of old friends to help enhance CHROMAKOPIA. And I mean a bunch. We got Gambino, Teezo Touchdown, Daniel Caesar, and Willow all providing vocals off and on throughout the album, and Thundercat, Steve Lacy, as well as former BROCKHAMPTON producer Romil Hemnnani giving Tyler some help producing. And those are just the small cameos.
ScHoolboy Q delivers one of his best features in a long time on “Thought I Was Dead”, continuing his killer 2024 after dropping his excellent BLUE LIPS album earlier this year. Tyler went off on the third verse (‘5 in the morning I be hatin’ on shit, 10 in the evening I be hating on shit’), tearing into some of the trash rappers like ian that have blown up recently purely off vulturing classic artists. Santigold starts the track off nicely as well with the military cadence, and Playboi Carti comes through with a nice verse on the physical only version. I would link the verse so you dear readers could listen to it but the all-mighty power that is DMCA will have struck it down by the time you read this but it is out there. I wish you luck.
Another frequent Tyler collaborator Lil Wayne, and new guests GloRilla and Sexyy Redd (and Solange on background vocals for .01 seconds) turn “Sticky” into one of the liveliest tracks off the album. The start and stop half verses that make up the first half of the track work better than they should due to Tyler’s intricate work on the hook, there aren’t many other artists that could have pull this off. Q and the combined effort on “Sticky” are all well done, but Tyler stays in control and remains the star of the show. Except on “Balloon”, where Doechii washes him. Her verse is one of the highlights of the album; a genuine star-making type verse, and even then, like the rest of the plethora of guests, it fits the album and never distracts from what’s going on around it.
The past few years have provided some opportunities to hear some fellow rap vets reflect on life, their maturity, and assess their mental health that they’ve been lacking, and CHROMAKOPIA is possibly the strongest entry to the mix. As much as Tyler’s music is a one-of-one, I don’t think CHROMAKOPIA turns out as well if he doesn’t have the opportunity to reflect on how Kendrick both made some of his best tracks (“Mother I Sober”) and some of his worst (“Auntie Diaries”), or what made Q’s new album thrive. Tyler has always been one to do things his way, warts and all, you’ll always get his authentic self and it’s no surprise that Tyler’s most introspective project is also one of his best.
